Miu Miu Women's Tales

Zoe Cassavetes directs The Powder Room, an enchanting and dramatic short film set in London's Claridges hotel. In this world Cassavetes uses the romantic codes of the powder room to mirror the beauty and luxury of the Miu Miu universe.

In this contemporary film noir, an elegant crew of female creatures emerges insect-like from portals on board a ship anchored in a tropical sea, their faces obscured from view. The beings sashay like 40s femme fatales, bearing sunglasses which conceal all but the fluttering of their false lashes as a new language is revealed, a Morse code of clicks and vibrations which underscores their private fantasy world of desire and spiritual escapism. Entombed aboard this luxury modernist boat, the female chrysalides prepare for their strange metamorphosis, symbols of evolution, transcendence and escape from the material and ephemeral.

In this dark tale of an esoteric ritual, a woman enters a shadowy laboratory where three witches attend a bubbling cauldron, surrounded by hanging skeletons of dresses. She is disrobed, led to a bath, laid in the water and her finger pricked to draw blood. The witches circle, chanting in strange tongues. As the smoke clears, we see the woman has made the ultimate sacrifice, transforming herself into the object of her desire.

Short film made for a fashion house. Four women from different backgrounds get ready and go to a concert.

In the Vucciria, the heart of Palermo's historic old city, strains of quintessentially Italian traditional music drift into a dressmaker's workshop. As she sews in time, creating a mysterious collection of traditional puppet costumes, the square below comes alive with music and dancing.

"Mom's stable, asleep. Drive safe. Xoxo Dad." Soon after Elizabeth receives a text message, she finds out her mother isn't the only one lost in sleep. Elizabeth's car has broken down and it's freezing cold, with no signs of life nearby. She just has to wait, patiently.

CARMEN is a portrait of an artist on the road. A brief examination of the highs and lows of performance and the loneliness that accompanies being in strange cities.

The movie is about an app called Somebody, if you sent a message through somebody it goes not to your friend but a user nearer to your friend and they deliver your message verbally for you when you can't be there. "When you can't be there, somebody can."

The ninth short film of the Miu Miu's Women's Tales series reflects Alice Rohrwacher's attention to the surreal world of ordinariness and exceptions.

A 14-year-old girl opens a package containing a magical magenta ball dress ten times her teenage size. Jasmine enters the folds of the dress, into a modern anti-fairy tale and everyday empowerment.

A girl, Sakura, takes a journey from the enchanted nature of Nara to the chaos of Tokyo, encountering many things and people along the way. Moving like a tree that sways in the wind, the girl expresses a spirit that secretly runs through places and living things.

The worlds of skate and fashion combine in a short for Miu Miu. Starring the ladies of the real-life skate crew "The Skate Kitchen", Crystal Moselle (The Wolfpack) crafts a charming modern fairytale about a day at the skatepark, and finding your tribe.

Do you ever feel the need to escape today's political climate? Hide away in this underground bunker, with all the amenities of the real world (minus the realness).

An apartment as a witness to someone's personal history, the kind of universal space in which we all find ourselves as we evolve into adulthood. An apartment as protagonist of the latest chapter of Miu Miu Women's Tales.

Farah, a bread seller, walks the streets of a Middle Eastern town, while an American military vehicle, surrounded by soldiers, slowly passes by. A moment's silence. Then, a devastating explosion. Civilians are bloodied, wounded. The horrors of war. "Farah" looks around aghast and wailing. But nothing here is quite what it seems. In fact, "Farah" is a character played by an aspiring actress called Laila. And this isn't Iraq, but a replica village erected on the Fort Irwin army base in California, used to train American troops before being sent abroad. Laila believes her acting talents are being wasted away in this arid simulation, where female role-players are limited to mute, background roles. She takes things much more seriously. Laila plots her way out.

Framed round a candid conversation between the photographer Brigitte Lacombe and the film maker discussing their process and fascination with images as well as Brigitte's close relationship to her sister Marian Lacombe (whom she works and travels with). Lynne sets up and films a real time photo shoot for Brigitte, selecting a "cast" for her to photograph with a theme of sisters and creative siblings, allowing us to closely observe the photographer at work. A cast of some true relations, close friend's considered sisters and "siblings" with modern re-definitions of family not connected by blood. An insight into Brigitte's creative process, her obsession with taking pictures and how her lens defines her relationship with her subjects and the world.

It's nighttime in Warsaw, Poland. Two very different homes. Simultaneously, the boy and the girl embark on a journey of transformation.

Shot in her Paris studio during lock-down, a melodramatic home movie playfully blends themes of womanhood, transmission, and freedom, based on recordings of her grandmother.

A couple prohibited from marrying because of different race in the early S. XX in California.

Nora is a striking young girl in love. All dressed up, she takes a shortcut through an abandoned building on the way for her hot date. Kevin, her ex, pulls up in the background. What ensues is a now universal 21st century story of male-female power, sexuality and shame-with a biting, feminist twist.

In a striking modernist villa, Penn puts on her heels, puts on her sunglasses, and leaves instructions for Jean to take care of the house. Jean plays the cello and receives potential buyers for the villa, while a parrot sits in a cage and a turtle wanders around the backyard.

A young woman travels from the 60s to the present day, via the 80s, crossing the thresholds of femininity and history, until she meets Carla next to the blue sky of the Catalan coast.

Luz works at a gallery but her real passion is singing opera. While she practices to audition for Madama Butterfly in one of the principal theaters of Mexico City, her friends teach her how to make her voice and hands dance.